They remark on many of the little details, the nuances of sets, locations, props and production design that may not be apparent during a casual viewing. The discussion hits on the specifics and thoughts put into choices for wardrobe, hair makeup, shots, angles, cuts, movement, etc are very deliberate to show intent, passage of time, or other purposes. Cranston shares some insights on how he attempts to balance acting vs directing when he fulfills both roles.

This track is a little more jokey than that of the previous episode but remains informative. They go into the background on the creation of some shots and stunts, as well as the use of sets and locations. MacLaren and Cranston, as episode directors, strove to maintain continuity between this and the previous episode. The participants point out the callbacks to earlier seasons and laying of groundwork for the episodes to come. They discuss some of the preparation and techniques for long and difficult dialogue scenes.

This one is sort of lethargic likely due to having recorded other tracks the same day, as mentioned by Gilligan. Some of the general information is repeated from the previous track, but it is still a worthwhile listen. Much about sets, locations, wardrobes and color choices. They were shooting in winter and it was very cold for some scenes. The actors speak to the thinking that they use for their motivation in key scenes. Mitte and Odenkirk have some grim stories that feed their acting in these moments.

This was the first time directing for Catlin and he speaks to his experience, with some comparisons to writing for the show. Most of the discussion covers sets and locations, delving into all of the layers and elements that comprise each scene, including sound design, lighting, set dressing. There are some thoughts on looping dialogue and what goes into creating the final sound mix. Of note, names and phone numbers of real local Albuquerque companies are used for the locksmith and carpet cleaner in this episode.

The eternal topic of sets vs locations is discussed anew. They cover the many factors that are involved in these selections, such as lighting, space, adaptability and practicality. They hit on the value of having the writer of the episode on hand during the shooting . This serves to honor the overall story and offer indications of what may come in the series in order to avoid repetition. Porter talks about choosing moments for the musical score. The participants also delve into the multiple elements incorporated in the planning and shooting of the driving and action sequences.

Gilligan states that this may be the best episode of the series. They talk about shooting in the Tohajiilee desert where half of the episode takes place and the working conditions there. The teaser was the final footage ever shot for the series. They praise the direction of Rian Johnson and observe his eye for shots and details. They point out some Easter eggs, cameos, and callbacks to earlier episodes. This was the first time watching the episode for the three actors, who may have had more to say otherwise.

Much of the discussion this time is about the actors in the episode and their characters. Forster shares some career experiences and insights he learned from some of his legendary collaborators. They do touch on the usual beats covering the sets, locations, stunts, make up, lighting and visual effects. They point out the unique use of the score within this episode. Some interesting anecdotes are the real life inspiration for the Forster character and that some film destroyed in a freak accident required reshooting a key emotional scene.

They go out with a bang for this final commentary. They reveal the meaning of the title for the episode and recount some of the scheduling difficulties encountered to bring everyone together. They speak to the emotions at play in shooting key and final scenes for many of the players. They point out callbacks to stories and characters from earlier in the show, and the footage that was recycled from previous episodes. There were some difficulties in shooting in some of the sets and locations, and Gilligan suffered from dehydration at one point. They break down the some of the visual and practical effects used, the sound elements incorporated into the mix, and the selection of the source music.